Mechanically Speaking (Preview)

PROMETHEAN EDITIONS 

MATTHEW HINDSON 

Mechanically Speaking 

Piano

Matthew Hindson 


Piano 

PROMETHEAN EDITIONS 

WELLINGTON

Mechanically Speaking (PE046), by Matthew Hindson (2001), for 

Piano 

© Matthew Hindson 2001 

First edition © 2023 Promethean Editions Limited 

Series Editor: Ross Hendy 

Editor: Thomas Liggett, Ben Woods 

ISBN: 978-1-877218-46-0 (print) 

ISBN: 978-1-77660-046-5 (ebook) 

ISMN: 979-0-67452-331-8 

Promethean Editions Limited 

PO Box 10143 

Wellington 

NEW ZEALAND 

https://www.prometheaneditions.com 

No part of this publication may be reproduced in any form or by 

any means without permission in writing from the Publisher.

Matthew Hindson (1968) 

Hindson was born in Wollongong, New South Wales, Australia in 1968. He studied 

composition at the Universities of Sydney and Melbourne with composers including Peter 

Sculthorpe, Eric Gross, Brenton Broadstock and Ross Edwards. 

His music often displays influences of popular music styles within a classical music context, 

and, as a result, musical elements such as driving repeated rhythms and high dynamic levels 

are typically found in his works. Indeed, directness and immediacy are common features in 

much of his music. 

Hindson’s works have been performed by ensembles and orchestras throughout Australia, 

including most of its professional symphony orchestras and chamber groups. Overseas, his 

compositions have been presented in New Zealand, Germany, France, Austria, the United 

Kingdom, Holland, Portugal, the USA, Japan, Malaysia, Canada, and Thailand. 

In 1999 Hindson was the attached composer to the Sydney Symphony Orchestra; his 

In Memoriam: Amplified Cello Concerto, which was written during this time, was nominated for 

an APRA-AMC award for Best Orchestral Work of 2001. In 2002 the Sydney Dance Company 

toured Australia to much acclaim with Ellipse, a new 90-minute production that broke box 

office records for the SDC and was performed entirely to Hindson’s music. Hindson was the 

attached composer to the Queensland Orchestra for their 2003/04 season, which resulted in 

his Percussion Concerto, written for Dame Evelyn Glennie and premiered in Brisbane in 2006. 

Other notable compositions include his flute concerto House Music for American flautist 

Marina Piccinini, which was premiered with the London Philharmonic Orchestra in 

2006, and his Concerto for Two Pianos (2011) written for Pascal and Ami Rogé. The London 

Philharmonic Orchestra have performed several of Hindson’s short orchestral pieces; in 2009 

the orchestra premiered his work Dangerous Creatures, commissioned by them for their sellout 

FunHarmonics series family concerts in the Royal Festival Hall. Hindson wrote the music 

PE046 – iii

for the Birmingham Royal Ballet’s 2009 production E=mc 2 , commissioned and choreographed 

for them by their Artistic Director David Bintley. The production won the prestigious South 

Bank Show Award for Dance in 2010. Bintley subsequently commissioned Hindson to write 

a second orchestral ballet, resulting in Faster, which was premiered by the BRB to much 

acclaim in 2012. 

From 2004 to 2010 Hindson was the artistic director of the Aurora Festival, which is dedicated 

to the work of living composers. Hindson was appointed a Member of the Order of Australia 

in 2006, for “service to the arts as a leading Australian composer and teacher of music, and 

through the wide promotion of musical works to new audiences”. 

Latest information about the composer may be found at www.hindson.com.au. 

Mechanically Speaking (2001) 

Mechanically Speaking As the title suggests, this piece is to speak like a machine. There is a 

job to be done and the mechanism is precise and relentless in carrying it out. The drama and 

energy of the music relies on the rhythmic writing and in the rapid changes of register. Every 

detail of the contrasting dynamics and articulation must be adhered to by the performer in 

order for the machine to seem to function as its designer intended. Note the ‘cluster’ notation 

in the left hand beginning at m.135 – this indicates an unspecified chromatic or diatonic 

cluster in the lowest register of the keyboard, which should be played with the palm. 

The composer writes: 

Mechanically Speaking was composed with an image of interlocking pieces of machinery 

in mind – I imagined an industrial workplace with gears cranking and cogs turning. The 

opening of the work, particularly, sets this mood although there are many twists and 

turns throughout the piece. There is one particular motive that returns throughout the 

composition in many different guises. 

The work is dedicated to the memory of Emeritus Professor Peter Platt. 

Mechanically Speaking was originally published in Firestarters 2 (PE069), a volume of seven 

new recital pieces for piano aimed at younger players, published by Promethean Editions. 

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This edition © 2023 Promethean Editions Limited PE046 – 1 

ISMN: 979-0-67452-331-8

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R

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